Deutsch

For  an  exceptionally  Beautiful  Deepening

of  Your  Ridinger  Collection

“ One knows the fate of (Watteau’s) miracle ‘The Embarkation to Cythera’: the Paris version, whose immediacy is greater than that of the one in Potsdam, stood for years in a room of the Paris (art) academy and served the pupils of (Jacques Louis) David as opportunity to train their aim in the throwing of little bread balls (and even worse).

Only  Baudelaire  (1821-1867)

whose  sense  of  art  aimed  at  the  rare

dared  to  place  the  painter  among  the  ‘lighthouses’  of  art !”

(Wilhelm Weigand, [The Court of Louis XIV], 3rd ed., Insel-Verlag 1925, p. 192)

Here  then

Watteau  +  Jullienne

Their  Bewitching  Double  Portrait

Watteau - Nicolas-Henri Tardieu, Assis au près de toy

as  Document  of  a  Friendship

Inspiring  Ridinger  to  his  Self  Portrait  in  the  Woods

( Th. XIX/1 )

Watteau – Jullienne – Tardieu, Nicolas-Henri (1674 Paris 1749). Assis, au près de toy … Beside you I sit, under these lovely shadowy trees. In fine parkland with female statue turning her back on the friends in the background Watteau, standing with palette in the raised left and supporting himself with the right on the maulstick, at the side of the cloth manufacturer, dyer + collector Jullienne sitting to his right and playing music (5-stringed floor-standing instrument; gamba/contrabass/violoncello ?). On the canvas behind them just this scenery surrounding them. Engraving after Antoine Watteau (Valencienne 1684 – Nogent-sur-Marne 1721). (1731.) Inscribed: A. Watteau pinxit / Tardieu Sculp., otherwise with the beautiful caption

“ Assis, au près de toy, sous ces charmans Ombrages, / Du temps, mon cher Watteau, je crains peu les outrages; / Trop heureux! si les Traits, d’un fidelle Burin, / En multipliant tes Ouvrages, / Instruisoient l’Univers des sinceres hommages / Que je rends à ton Art divin! ”

and a Paris Avec Privillege du Roy. 16⅞ × 12⅜ in (42.9 × 31.3 cm).

Dacier-Vuaflart 3, III; exhibition catalog Watteau 1684-1721 Washington/Paris/Berlin 1984/85, pp. 28, 39 f. + 362 ff. with illustrations and p. 398/I (report on little bread balls, s. a.); Thieme-Becker XXXII (Tardieu; 1938; “Besides Benoit Audran the most important engraver of Watteau”), 444 (Watteau et Jean de Julienne, main sheet); Nagler, Tardieu 63 (erroneously as W. with Tardieu; 1848); Niemeyer, (The Fertile Penetration – Watteau in the Work of Ridinger), with ills.

On heavy laid paper with watermark Eagle (D.-V. II, p. 85, fig. 16). – The copy of the collection HW (Lugt 1388, not identified, probably German portrait collection) with its monogram stamp on the back. – With roundabout margin 1-4-1.8 cm wide, in this at top old reg. no. (?) in brown ink and two further ones in color pencil on the back lower right. – Two pinhead-tiny holes right in the subject above the easel.

Tardieu’s  “Famous  Engraving”

(W. cat.; “engraved in a … manner of a highly pictorial effect  which  does  justice  to  the  silvery  character  of  Watteau’s  colors  in  a  most  accomplished  way ”  [Th.-B.) in greatest vicinity to Watteau’s Mezzetin in New York (W. cat. 49 with color + comparison illustrations), but irrespective of the “pinxit” for the lack of a handed down immediate design furnished by the W. cat. with a question mark for the creator (large ills. p. 28), only to be called up in the later discussion about the person of the Mezzetin as evidence for the hypothesis that this should be the trusted friend Jean de Jullienne (1686 Paris 1766):

“ Now  there  is  a  famous  engraving  in  which  Watteau  and  Jullienne  are  seen  together

Beside  you  I  sit …

A comparable statue, which is seen from another angle, however, is dressed and not in the nude, is in the background of the New York painting(, too). Obviously it is the one which the guitar player wants to move by his music and his song, by which the theme of the painting becomes clearer. But the fact that it is depicted on the Mezzetin and the engraving ‘Beside you I sit …’, the point that Jullienne has kept the painting in New York (contrary to all other paintings) for his whole life, lead us to the hypothesis that Watteau conceived this painting as allegoric portrait of his friend and offered it to him in pledge of his friendship possibly in a moment when Jullienne … courted his future wife (marriage 1720). ”

Nothing would be anymore as it had been. From this plausible new view the Tardieu sheet grows a thematic gain of quality, raising its rank as doubtless

one  of  the  most  beautiful  graphical  sheets  of  friendship ,

wanted and dearly paid for at its only rare appearances on the market.

And, all told, there is really nothing supporting the catalog’s over-cautious questioning of the creator, so that the pinxit of the contemporary sheet should enjoy priority. It displays a full Watteau, breathes the incomparable flush of this “greatest painter of France in the 18th century and at the same time the most French one” (Jahn, 1957). And it shows this together with the lasting most important one of the friends. For

“ Thanks to the collection set up by him (Recueil Jullienne, in vol. III of which the sheet here figures as frontispiece) the name of the famous art connoisseur will be tied to that of the painter forever ”

(W. cat. p. 39). Like the sheet itself, as documented here for the first time, as being of the same mind

inspired  Ridinger  to  his  self  portrait  in  the  woods  before  the  easel

(Th. XIX, 1). For only posthumously it was transferred into copper by Martin Elias, his eldest. “Renewing the memory”. By which the wheel comes full circle.

Purely pictorially both groups of persons are placed in the right half of the image, the sitting ones with the back to the right and looking out of the picture at the beholder, as also the standing Watteau. And in analogy to the music-book on the ground fanned out by the wind with Watteau/Tardieu the open paint-box on the ground with the inscription on the inner cover with Ridinger. A classic example of the old give and take also in art. And with reference to Watteau/Ridinger more at the same time. For like the former “copied those he liked” (Pierre Rosenberg, Watteau’s Copies After the Old Master, in W. catalog) for both his pleasure and inspiration, so beside the already known ones several further examples could be uncovered here which prove Ridinger’s love of Watteau and just also his familiarity with the Recueil Jullienne.

And while it took Ridinger’s 300th birthday to present the work to a wide public, led by the great 1½-years Polish touring exhibition comprising the  whole  Ridinger, so also only the same occasion to stage said exhibition Watteau 1684-1721. As the “first dedicated to the work of the great artist born 300 years ago”. And to the catalog of which wishes and hopes were attached no different to Ridinger. That is to become a starting point for new research and to help

“ to  understand  and  therefore  to  love  the  master  better

(then) it will have succeeded in what we wanted it to be” (W. catalog pp. 5 + 13).

Having found to Watteau by way of Ridinger it is with respect to such points a quite special pleasure for me to be able to make available after having traded in the past several copies of Ridinger’s forest self-portrait now also its charmingly fresh source. First

for  an  exceptionally  beautiful  deepening  of  your  Ridinger  collection ,

then exemplarily for the friends of two masters well received through the times in, however, rather closed company.

Offer no. 15,276 / EUR  2300. / export price EUR  2185. (c. US$ 2420.) + shipping


“ I have now fetched the parcel and I am very satisfied. Its a good copy and I think it is telling a lot about Ekeman Alleson … Thank you for good envelope around it and for good service! ”

(Mrs. G. H., March 7, 2005)